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PATRICK BROGUIÈRE

Crossover Prog • France


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Patrick Broguière biography
Born in 1962

French composer and musician Patrick BROGUIERE came from a background where he had performed music more in a hard rock manner when he opted to kick off a solo career, and when doing that went for a sound with a rather different approach. Citing Genesis and Pink Floyd as major inspirations, the music on the four full length productions he has made to date blends elements from these inspirations with chamber music, jazz and ambient music to craft a stylistic expression compared to artists like Jean-Pascal Boffo and Changing Images on one hand and Blackmore's Night on the other. A key aspect of his production is that key details are altered to a lesser or greater degree from one album to the next, resulting in albums with a strong musical identity. Another feature is his strong affection for France as a nation, that many feel as a distinct presence in all his compositions. And as emphasized by the artist himself, the booklets for each CD have been crafted with a great deal of attention, aiming to be works of art in their own right.

Broguiere's first production Brocéliande was issued in 1995. One year later the follow-up Icônes was released. Both of them on French label Musea Records. In 1998 his third CD Mont Saint-Michel surfaced on Italian label Mellow Records, while independent label Gimmick Productions catered for the home market. Broguiere's most recent album, Châteaux de la Loire, appeared in 2000, this exclusively through aforementioned Gimmick Productions.

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PATRICK BROGUIÈRE discography


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PATRICK BROGUIÈRE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.03 | 14 ratings
Brocéliande
1995
3.45 | 14 ratings
Icônes
1996
4.56 | 29 ratings
Mont Saint-Michel
1998
4.69 | 17 ratings
Châteaux de la Loire
2000
4.27 | 5 ratings
A Secret World
2023
3.72 | 4 ratings
Destinations
2024

PATRICK BROGUIÈRE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

PATRICK BROGUIÈRE Videos (DVD, Blu-ray, VHS etc)

PATRICK BROGUIÈRE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

PATRICK BROGUIÈRE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

PATRICK BROGUIÈRE Reviews


Showing last 10 reviews only
 Destinations by BROGUIÈRE, PATRICK album cover Studio Album, 2024
3.72 | 4 ratings

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Destinations
Patrick Broguière Crossover Prog

Review by marcobrusa

1 stars WAS THIS MADE BY AI?!?!?!?! I partially listened to this album after reading a misleading, dare i say ridiculous review. The compositions are uninspired and flat, everything sounds like it could be AI generated. I didn't listen to the whole album because it doesn't sound like real music so i consider it a waste of time. I fast forwarded every song just to hear more and more absolutely boring, soulless material. This is, in my opinion, the absolute opposite of a masterpiece and one of the worst albums i've ever "heard". I won't even complete the 100 words... Booooooooo ooooooooo ooooooooo!
 Destinations by BROGUIÈRE, PATRICK album cover Studio Album, 2024
3.72 | 4 ratings

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Destinations
Patrick Broguière Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars Like many among seasoned prog writers, the Rogue has compiled over the last half century (time flies) a colossal collection that is comprised of MOST of the top 2 tiers in terms of fame, which should not be surprising. But what may be shocking for some, is that there are some lesser-known artists who figure very high on the list of favourites, owning all of their recordings, yet pretty much unknown or relative only to a few cognoscenti. Here are a few, off the top of my head: CAP, Logos, Daal, The Rome Pro(g)ject and Inner Prospekt from Italy, Albion (Poland), Rick Miller (Canada), Brits Galahad, Dave Bainbridge and Colin Masson, All India Radio (Australia) and Seven Reizh as well as Patrick Broguière (France). The latter is the focus of this review, as Patrick's music has a personal effect on me that I cannot and would not even care to try to analyze or comprehend why. Its just THERE! Ever since his consummate 1998 "Mont St-Michel" masterpiece, I have deeply adored his style and talent, through "Chateaux de la Loire" (2000), and last year's phenomenal return after 23 years of silence "A Secret World". There is something undefinable that has surely something to do with my French schooling (which explains the fascination for Broceliande, Museums, Mont St-Michel, Loire Castles etc?) as well as a lifelong love for medieval and baroque forms of music. Patrick infuses all kinds of various elements that, much like Mike Oldfield's work, has me smiling note for note, tracks by track and album by album. So, I am unashamed to announce that I remain a huge fan of this immense talent and elated beyond words of receiving this immediate follow up to last year's release. "Destinations" is dedicated to his father, a most honourable human tradition of celebrating a parent who surely may formatted a child's character and perhaps even taught many a lesson. Once again, the artwork is off the charts, continuing the long partnership with Hervé Thibon, as Patrick handles all the instruments and enlists the help of a bevvy a talented vocalists to complete his musical vision.

Launching a stunning 10-minute epic is what one can discover on "The Land of Elves ", a magical (Pat is into magic), lively, unpretentious and entertaining dive into his new creation. With Laura Ausensi's lovely high-pitched vocalizing, a string-driven motif provides a bucolic, sunshiny feel that can only make on smile with admiration. The majestic main theme is interspersed by a variety of returning segments, brief yet evolving powerfully, with Patrick unleashing a spiralling electric guitar incursion that adds spark and sizzle to the warm fire. The subsequent piano section suggests a more romantic ornamentation that will enchant those who enjoy the black and white keys. Adding background symphonic strings and choir only elevates this to a loftier realm. The return to the opening vocal expression, now combined with all the bells and whistles is just heavenly.

I must admit, after only 2 spins, "Rockland" is my top contender for track of the year, owner of a concussive electric guitar riff that swats flies as a second job, a percussive assault on the senses, only to be overtaken by a Gregorian female/male vocal duet (Celica Soldream and Victor Sordo) that grabs the jugular as well as the heartstrings, catching me warbling the main (and haunting) 8-minute-long melody for hours on end. Simply gorgeous, words fail me, I have attached the video for you to fully see and hear this jewel. These 2 opening gems will be given a shorter 'radio edit' version as bonus tracks at the end of the set list.

Showcasing a unique ability to stretch out his compositions to suit his inspiration, the nearly 13 minute "Hyperion" seals the deal even though we are only 3 tracks into the album, maintaining a consistency that will stun many listeners. The overt medieval intonations are self-evident, laced with the sweet organ pattern and the reverberating cellos, synthesized vibraphone patches, and a clearly developing theme. A transition of electronic reflection shepherds in the soothing wailing voice of Conny Kollet, a church organ appearance that can only add grandeur and emotion to the subtleties expressed, as birds chirp away in the belfry. This style of chanting ('cantus gregorianus') makes my knees wobble and my heart melt into contented absolution. The futuristic insertion of an English language vocoder portion, contrasts brilliantly with the timeless Middle Ages sensibility of the central theme. Immaculate!

The acoustic troubadour opens up "Dreamland", infusing delicate piano colorations, gentle bass undertow and fluttering percussion to the mix, before Laura clutches the microphone for another tour de force vocal display. The delicate sound of warm winds caressing the soul, a carefree and liberated sense of wonder, ensconced in one's own introspective universe. The streaking electric guitar conjures up multiple puffs of fantasy, welcoming the listener to fairyland, a place where reality meets the imagination.

The colossal pipe organ greets both the sinners and the saints on "The Final Prophecy", the groundwork for stringed orchestrations that strive to raise the collective awareness, trumpeting an impending message that needs to be heard. The transitioning to piano-led exhortations is beguiling, as cinematographic an arrangement could be, a soundtrack to a movie in your mind, open to individual interpretation, yet guided by a divine spirit. Angelic bells, cathedral echoes, and celestial choir adorn this exquisite piece, soothing and yet overpowering.

Arid due to the broiling sun, "Desert Voices" offers a Saharan atmosphere of immense scope, with a bevvy of vocal sounds scouring the parched dunes, some Arabic-tinged, others spiritually infused with wailing deliverance. The acoustic guitar push the rhythmic pulse to explode in a polyrhythmic oasis of sound, palm trees swaying to the authority of the sirocco, as the caravan searches for a place to spend the night.

Closing off the proceedings in grand style (before getting to the afore mentioned bonus tracks) "Last Destination" shows the pathway to where the journey must end, as all human voyages have a terminus where, hopefully, peace and truth prevail. The compassionate piano and Conny Kollet's considerate wail provide all the solace one could possibly wish for, the windswept cellos and violas orchestrating the final resting place with sincere reverence and ultimate grace.

This new offering slides in succinctly right behind Mont St-Michel in terms of quality, and deserves the highest accolades from the prog community, so please support at: broguiere.bandcamp.com. You will not regret the Prog Rogue's suggestion! This terrific album will be surely in the top 5 for 2024. 5 terminals

 A Secret World by BROGUIÈRE, PATRICK album cover Studio Album, 2023
4.27 | 5 ratings

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A Secret World
Patrick Broguière Crossover Prog

Review by alainPP

3 stars 23 years have passed and Patrick offers a nostalgic revision of sounds between Renaissance classicism, baroque air and modern touches to travel through our memories of the last decades.

'A Secret World' with the grandiloquent resonating organ, dark, plaintive, ethereal cello sounds; a nostalgic harmonica, an austere clarinet, everything to set the mood 'The Blue Unicorn' on a march with minimalist drums and electronic bass bringing a synth with redundant notes 'Breath' for the solemn pino interlude 'King Arthur's March' and its medieval promenade, mellotron strings amplifying this symphonic piece which would have been all the rage during the 90s. 'In the Corridor' led by a Serra-style bass rumble; Patrick distills a warm guitar solo with a nostalgic clarinet in the background, forcing the wandering

'21st Century Dancing Man' with FACE in the background; the liturgical voice on an electro basis, a mixture of sounds and times for the anachronistic flagship title; medieval and decadent fusion with this TANGERINE DREAM keyboard from the 80s, futuristic, avowed paradigm 'The Magical Path' on a soft STRANGLERS tune for the side nostalgic for the renaissance, children's piano and an electro dub accompanied by brass 'Out of Time' acoustic guitar eyeing the horizons of GENESIS, simple beauty coming from a troubadour manant 'In My Dreams' where the acoustic guitar combines with the spleen cello to distill a lugubrious splendor; angelic choirs of which some Gregorians give religious emphasis, very beautiful 'Faust and Mephisto' on solemn military drums, variations of voices and instruments leading to the inevitable finale; piano notes accompany the woman's voice in this musical spiral where the clarinet intensifies the drama of Faust, filled with misfortune and despair; admirable piece in BROGUIERE style which seems insensitive to time.

 A Secret World by BROGUIÈRE, PATRICK album cover Studio Album, 2023
4.27 | 5 ratings

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A Secret World
Patrick Broguière Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars Twenty-three long years have passed since this fabulous Paris- based multi-instrumentalist published an album, the last being the entrancing "Chateaux de La Loire" in 2000 which I have reviewed glowingly. I had to rely on revisiting his previous albums, including the just re-released "Mont St-Michel" which I consider to be an outright prog classic! Patrick used this prolonged interval to publish various books (France is still very reading friendly) as well as learning magic, which surely inspired this latest opus entitled "A Secret World". As with all his 5 albums, he has maintained a rather conspicuous style that combines Renaissance/Baroque classicism with modern touches on a variety of vintage and non-vintage instruments, as well as incorporating progressive methodology, production, and arrangement values. Passion, Melody, and Atmosphere reign supreme throughout the 10 tracks presented here. The cover work (I am waiting for the CD to arrive, using the download to review) is just as expressive as the sublime "Mont St-Michel" (the CD version and booklet are mesmerizingly beautiful, merci Herve Thibon). I will admit that I have been a devoted fan since his very first foray in 1990, the fairy-tale legend of Broceliande, the mythological French forest situated in the Morbihan region, that had a reputation for dragons, fairies, endless mystery and where necromancers enchanted the world of King Arthur's court, the most famous being Merlin. Talk about prog imagery!

The title track sets the tone from the outset, as the bombastic organ echoes into the deepest realms of the entranced thicket, interwoven strands of fluctuating melody, rich with contrasts, at times sombre cello sounds seek to engender sorrow, tingling acoustic guitar, and serene woodwinds, all mingling into a suppliant choir that crosses the threshold of reality, inflowing towards the unexplainable and ethereal. A final return to the beginning, the loop is closed. The vibrantly pleasant "The Blue Unicorn" is a sonic representation of virtue and honour, flush with elegant bravado and confident gait as the hypnotic mood remains sure footed and yet also somewhat spectral. Marching binary drums and bopping synth bass set the foundation, on which an insistent synth chord keeps the pace. Swerving electronic flurries add to the repetitive magic. The piano plays "Breath" for half a minute, so as to preface the tremendous "King Arthur's March", a regal promenade of pomp and circumstance of the finest medieval vintage, mellotron strings bouncing off the armoured knights' bassinets, pauldrons, gauntlets and sabatons, as they march with their lances held high, shields at their sides. The main theme is appropriately grandiose, and the effect is awe-inspiring. The weaving "In the Corridor" is led by a bass heavy rumble, as if lumbering in the muddy channel, ready for the pointed assault long the defined lines of the joust. Patrick tears off a searing guitar solo that spirals deep into the resistant soul, contrasting with serene woodwinds that settle the outcome.

An unexpected time travel into the future with "21st Century Dancing Man" is easily a feature track here, with a liturgic voice, high-pitched and echo-laden being the spotlight peculiarity, careening effortlessly amid the modern beats as the electronic shuffle and the theme coalesce into a sensational 5-minute dance. This convergence of medieval and futuristic is superbly rendered. The swooning escapism of "The Magical Path" suggest a sense of wonderment and gentle euphoria, a breezy affair with sharp brass blasts and led by a roguish piano that announce some illusionary track into the unknown, as well as the unseen but definitely the well heard. The whistling sounds, the ivories swaying in harmony and that trembling bass furrow, all combine to enchant, entrance, and entertain. Timeless, restrained, and secure artistry at hand. A troubadour moment with the impish "Out of Time", a solo acoustic guitar flicker of lanterned illumination, as introduction to the gallant transition on "In My Dreams", where acoustic guitar maintains its minstrel quality, the cello scouring the banquets hall's walls in mournful splendour. The drums enter the fray, solidly foundational for the voices both male and female, in apparent bonding. Just plain stunning.

The classic "Faust and Mephisto" finishes off this marvellous offering, a take on the German legend whereby the aging alchemist and wholly dissatisfied with his life Faust offers his soul to the devil's agent Mephistopheles in order for the former to use temporary magical powers to seduce the young and very attractive Gretchen. This cannot and doesn't end well, needless to state. Johann Goethe wrote a play and Charles Gounod a revered opera, so this sits well within the mainstays of contemporary art. Patrick gives a five-minute musical revisit, a revamped experience of confusion and doom, of despair and sacrifice, as the piano intones the subjugation of the desperate erudite, who cannot even fathom the trap in which he is now forever condemned to enter. Naturally, this is perhaps the more overtly classical stylized piece here and ends on quite the serious note as Faust soul is taken over by the devil for evermore.

As with many artists that I target for review, these are the ones who are wholly meritorious of being discovered and encouraged by the prog public at large, as well as admired for their determined passion. I suggest visiting his bandcamp page at broguiere.bandcamp.com and see what a delightfully gifted artist (and magician) Patrick Broguiere is.

5 confidential realms

 Châteaux de la Loire by BROGUIÈRE, PATRICK album cover Studio Album, 2000
4.69 | 17 ratings

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Châteaux de la Loire
Patrick Broguière Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars This is the latest Patrick Broguiere album, sent to me by the artist as a reward for reviewing glowingly his previous Mont St-Michel, a thoroughly satisfying recording that I find unimaginable to surpass. Upon first glance, the packaging is again absolutely dazzling (Herve Thibon's paintings rule!), gorgeous artwork, booklet and cover. Patrick handles all the usual instruments including viol da gamba and crumhorns. Pierre-Yves Theurillat guests on vocals, he from now defunct Swiss band Galaad.

His preceding albums have been influenced by the Arthurian legends (Broceliande), the museum (Icones) and a World Heritage site (Mont St-Michel), so it's fitting that he now tackles another French national treasure the famous Loire castles, magnificent Renaissance "chateaux" that lie near the Loire River in Western France. Some are world famous such as Chateau de Chambord, Chateau d'Amboise and Chateau de Chenonceaux. Others lesser known like Blois, Azay and Montsoreau . These magnificent palaces were erected during the XV and XVI centuries and were historically crucial in the various conspiracies that heralded the political upheavals which would continue until and beyond the Revolution Francaise.

The music is as stunning as on Mont St-Michel, another exhilarating sonic exercise than incorporates medieval sounds (such as the exquisite harpsichord on "La Conjuration d'Amboise") and colossal collisions between crumhorns dueling with frenetic lead guitars within the framework of traditional dance music styles such as the solemn pavane , the pulsating galliard and the swifter saltarelle . Some Oldfieldian perfume wafts through the grooves with refreshing splendor, giving this a modern veneer that is quite exhilarating. Tortuous, semi-operatic vocals are introduced on "the Ballad of Scarface" to great effect, giving this track a hint of that other amazing French prog-folk artist, Motis. The story recalls the assassination of the Duc de Guise at chateau de Blois, one the more somber chapters of French history, by order of the king Henri III. "Chambord" on the other hand, is pompous, grandiose and majestic, just like the imposing castle that attracts tourists from the world over. Orchestrated to great effect, the neo- classical structure is very appealing and the music architecturally exact. "A Celebration at Chenonceau" is a playful stroll between the glory and splendor of this magnificent edifice and its extensive waterworks, the flute being the undivided chaperone. When the organ enters the fray, the mood becomes more ostentatious but is just a stepping stone for the dazzling lead guitar dance that ends the song. The final 2 part "The Gardens of Villandry" summarize this disc with its trademark build-up, percussive carpets with string-synths, swirling rhythmic identities showcased by strong playing, evocative mindscapes for the medieval prog fan to drool over.

This musical promenade is on par with the previous masterpiece, almost a second volume, if you like, a complete package for the progressive connoisseur. Escapism of the very highest order, a bold historical revisit of France's glorious past, kept alive by its numerous cultural jewels. Perhaps more so than ever before, fans of classic Gryphon would be thrilled to death at the thought of listening (or dancing) to this marvel! I just love this style of music, so I am biased ?..

But very happy.

5 sparkling river castles

 Brocéliande by BROGUIÈRE, PATRICK album cover Studio Album, 1995
4.03 | 14 ratings

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Brocéliande
Patrick Broguière Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

4 stars There are a slew of progressive artists that sadly remain in the relative shadows as even within the prog community, too much fuss is still gushing over the 'golden age' and its undying monuments (most of whom haven't released anything tasty in decades!). We all know who they are. This leaves little time to focus on the 'lesser' stars in the prog galaxy by most of us but not all. I have come to the controversial conclusion that there is more powerful prog today then in 1973 and I believe I have that right since I lived it fully as a music hungry 17 year-old . It's just that Yes, KC, Genesis, Tull, ELP and Floyd were new and galvanizing, rock music played by talented virtuosos instead of inept junkies (most punk bands but not all, I am not that conservative!). But especially since 2000, there have been tons of incredible releases full of dense, well lubricated timeless prog. It took a while for this inspired French artist to be included in the PA community, a shame really, as Patrick Broguiere represents the archetypical modern prog artist succinctly. A professional for whom music is way beyond a hobby, a pastime or a way to pick up chicks, it's a serious kind of epiphany to willfully create music knowing that economic gain is a pipe (organ) dream! So there are architects, dentists, businessmen, civil servants, pilots who moonlight as artist in their basement with all the PC based equipment available for a mere pittance and compose amazing music. I fell in love with Broguiere's 'Broceliande' after only skipping through it in a store and bought it on a whim. I jumped immediately on the masterful third 'Mont St-Michel' which I glowingly reviewed recently and that has a pantheon spot on my top 50 all-time list! In the finest medieval prog tradition, the mythical forest of Broceliande is the theme that will provide a musical adventure within Arthurian legend, invoking Lancelot, Merlin, Avalon, Galahad and the Quest of the Round Table we all know and love. From the first notes of the 'Ouverture', the intent is clear, a modern instrumental adaptation of historical lore, with fresh electric guitar musing along with the flutes, synths right next to the harpsichord, organ embracing piano. The only slight negative is the use of drum programming which gives the delicate symphonic sheen a shadow of rigidity. But the great Oldfield was guilty of this also way back when and Patrick did well to get a real drummer for his Mont St-Michel milestone. There are some incredible moments here, the brief 'Merlin L'Enchanteur' is like a variation on classic 'Greensleeves', a simply stunning slice of genius. The booming church organ on the sweet 'Le Mariage d'Arthur' is equally phenomenal. 'Chanson de Vivianne' is outright magical, the oily guitar lead splashing over the chords with glee .'Le Pays Sous le Lac' remains imprinted on the listener's mind long after hearing it, aquatic revolutions that sound like Moerlen-era Gong, the repetitive keyboard sound is like a vibraphone that is pure hypnosis. The mandolin theme is achingly attractive, mysterious and memorable like some vaporous opiate cloud. This hypnotic theme will be repeated on the epic workout 'La Fin des Legendes' much to our delight. 'Lancelot du Lac' has serious medieval slants, motivated piano and agreeable flute exercising their wish to bond, a prime piece of music once again. On the finale 'La Quete' , the grandiose and the majestic themes bid a farewell to the experience and create a welcome sense of pleasure.

But some tracks are less inspired such as 'La Bataille d'Avalon', more playful and bombastic, hence providing added context but nothing remarkable. Or the solemn 'Le Chateau Aventureux' and the cinematographic 'Galaad' are pleasant but nothing more.

An artist that deserves more recognition and praise surely but get 'Mont St-Michel' first before embarking on any Broguiere adventure. It will seduce the knight in you!

4 Carnac druids

 Mont Saint-Michel by BROGUIÈRE, PATRICK album cover Studio Album, 1998
4.56 | 29 ratings

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Mont Saint-Michel
Patrick Broguière Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars There are few hidden gems more deserving of salivating praise than this insanely scrumptious album from unknown French composer and multi-instrumentalist maestro Patrick Broguiere. I have been waiting for this inclusion into the PA community, a deserved arrival that needs some serious attention, as this album is on my top 50 all-time list. His previous works, the highly medieval Broceliandre and the museum visit Icones were more than pleasant listens but Mont St-Michel simply out distances his past work as well as many others that claim progressive brilliance. Everything is utterly splendid, the artwork, cover and booklet (the paintings by Herve Thibon are gorgeous) are probably the finest this reviewer has ever seen (er... I've seen a lot!), the instrumentation is top notch with whirling keyboards, piercing guitar, real drums, stunning strings and lush arrangements especially on the vocal side. Jerome Wolff adds saxophone liberally and does it well. What makes this such a winner is the overt musical celebration displayed, never murky, bland or wispy, au contraire, the delivery is always focused and exalted. Patrick expertly handles all guitars, bass and keyboards in a style that will recall hints of Mike Oldfield. For those who do not know, Mont St-Michel is a famous tidal rock island has been a strategic point holding fortifications since ancient times, and since the 8th century AD it became the seat of the Saint-Michel monastery, from which it draws the name. Victor Hugo of Les Miserables fame was imprisoned here by his nemesis Napoleon III. It remains today a Unesco World Heritage site and a massive tourist attraction.

Gregorian chants introduces the three part "The Archangel's Finger", sandwiched between the title track and wastes little time in setting a glowing melody that is both serenely bewitching and haunting, with that Oldfieldian flair, a musical gallop into the gothic/medieval past that is highlighted by some lovely piano and vocal work. Percussion adds even more dynamics to the mix. The second and third segments are string driven things that infuse a sense of history and gloomy past, violins, violas and cellos evoking heady times of power and glory. When the brilliant sax kicks in, the bliss becomes highly effusive (that Wolff man can blow!) and the gentle piano outro is delicious. After a brief string quartet interlude ("The Thirty Candles quartet"), we are transported into a bluesier world, where the extended guitar picking vies with the plaintive violin in a gentle duel. The piano driven finale is achingly pretty. The 2 part "A Night in the Abbey" is perhaps one of the finest medieval ?prog compositions ever recorded, featuring an orgasmic soprano aria from Patricia Samuel that would rival Floyd's anthemic "The Great Gig in the Sky", I mean WOW! Haunting Gregorian choirs starts this mother off, the powerful bass forging ahead convincingly, rumbling church organ blasting away with religious zeal, laying down the tonal carpet on which Mademoiselle Samuel wails away (this is spine tingling stuff). The manner in which it is slowly building up to a paroxysm is to be duly noted, on par with "Sailor's Tale" by KC and of course, the classic PF track mentioned earlier. I am a sucker of operatic wailing anytime of the day and it does not get better than this I assure you, especially when she hits those impossible high notes! My goodness?? worth getting for this moment alone. Talk about sonic orgasm."Theme of the Pigrim" brings us back to a sense of reality, sliding from ambient to quirky to playful, in an almost Gentle Giant way, extremely musical and developed . The track builds a head of steam when the resounding lead guitar enters the fray, giving direction to the dissonance and reappears repeatedly with more vigor. Very slick?.."Gothic Gargoyles and Lace" continues on the path, interjecting gruesome gargoyle voices, cubic synths and solemn strings (viola is such a fabulous instrument) while the drums pound mercilessly. The modern and the ancient clash with energetic gusto. The sensual sax makes another sexy appearance. The wispy "Quicksands" prefers more orchestrations and a classical outlook as if acting as a prelude for the majestic" A Feast in the Guest Hall" , another corker that visualizes a raucous medieval banquet, with prancing troubadours and blazing torches, laughing, dancing and general cavorting (belches not withstanding) and hence Patrick reprises the main theme of the title track, violins ablaze. An orgy of colliding themes both classical and rock teem without restraint, gentle plucking acoustic guitars, vibes, flutes and then, boom, ripping guitars smashing through the festivities. The serene acoustic guitar on "In the Crypt" serves to prepare for the grand finale "Immensi Tremor Oceani" referring to the constant threat of engulfment by tidal waves of this little rock in the middle of the English Channel. Musical prayers beckoned by chanting monks, church organ, acoustic guitar, bass and marshalling drums all collaborate in the euphoria.

Understandably, not all fans will like this formula but I have always enjoyed going to wider boundaries than the usual staple of rock n roll, so this is just another elevation in the process. Open ears create open minds. I love baroque, renaissance and medieval-folk as well , so if I can infuse that with some finesse prog, who am I to complain? Obviously fans of The Morrigan, Iona, Colin Masson, Minimum Vital (and its offshoot Vital Duo) and classic Oldfield should flock hysterically towards purchasing this masterpiece; it has EVERYTHING you could want in prog.

5 magic monasteries

 Icônes by BROGUIÈRE, PATRICK album cover Studio Album, 1996
3.45 | 14 ratings

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Icônes
Patrick Broguière Crossover Prog

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

3 stars I've always thought that it is most important when compiling a music CD to have a strong start and a strong finish. And this album succeeds at both. The two parts of Museum was a wise choice for Patrick Broguiere to open and close this album. With heavy symphonic overtones, these tracks give the listener a good feeling.

Inbetween, the music is less spectacular. Some of it is okay, with sounds that could be incidental music from a renaissance period movie. But much of the album doesn't fare well, coming dangerously close to new age. And Ceci N'est Pas Un Braque is simply annoying, sounding like Euro-disco.

But there is enough listenable music for me to just barely give it three stars.

Thanks to windhawk for the artist addition. and to Quinino for the last updates

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